Boston Symphony Orchestra Concert Programs, Season 73, 1953-1954

Home , George Henschel, Guido Cantelli, Zino Francescatti

BOSTON SYMPHONY ORCHESTRA

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SEVENTY-THIRD SEASON I 953" I 954 Veterans Memorial Auditorium, Providence Boston Symphony Orchestra

(Seventy-third Season, 1953-1954) CHARLES MUNCH, Music Director RICHARD BURGIN, Associate Conductor PERSONNEL VIOLINS Violas Bassoons Richard Burgin, Joseph de Pasquale Sherman Walt Concert-master Jean Cauhap6 Ernst Panenka Alfred Krips Eugen Lehner Theodore Brewster George Zazofsky Albert Bernard Rolland Tapley Georges Fourel Contra- Bassoon Norbert Lauga George Humphrey Richard Plaster Vladimir Rcsnikofl Jerome Lipson Harry Dickson Louis Artieres Horns Gottfried Wilfinger Robert Karol James Stagliano Einar Hansen Reuben Green Harry Shapiro Joseph Leibovici Bernard Kadinofl Harold Meek Emil Kornsand Vincent Mauricci Paul Keaney Roger Shermont Walter Macdonald Carlos Pinfield Violoncellos Osbourne McConathy Paul Fedorovsky Samuel Mayes Minot Beale Alfred Zighera Trumpets Herman Silberman Jacobus Langendoen Roger Voisin Stanley Benson Mischa Nieland Marcel Lafosse Leo Panasevich Karl Zeise Armando Ghitalia Gerard Goguen Sheldon Rotenberg Josef Zimbler Fredy Ostrovsky Bernard Parronchi Leon Marjollet Trombones Clarence Knudson Martin Hoherman Jacob Raichman Pierre Mayer Louis Berger William Moyer Manuel Zung Rauko Kahila Samuel Diamond Flutes Josef Orosz Victor Manusevitch Doriot Anthony James Nagy James Pappoutsakii Tuba Leon Gorodetzky Phillip Kaplan K. Vinal Smith Raphael Del Sordo Melvin Bryant Piccolo Harps George Madsen Lloyd Stonestreet Bernard Zighera Saverio Messina Oboes Olivia Luetcke William Waterhouse Ralph Gomberg William Marshall Jean Devergie Timpani Leonard Moss John Holmes Roman Szulc Charles Smith Basses English Horn Georges Moleux Louis Speyer Willis Page Percussion Ludwig Juht Clarinets Harold Farberman Irving Frankel Gino Cioffi Everett Firth Henry Freeman Manuel Valerio Harold Thompson Henry Portnoi Pasquale Cardillo E\> Clarinet Gaston Dufresne Librarians Henri Girard Bass Clarinet Leslie Rogers John Barwicki Rosario Mazzeo Victor Alpcrt, Ass't Veterans Memorial Auditorium, Providence

SEVENTY-THIRD SEASON, 1953-1954

Boston Symphony Orchestra

CHARLES MUNCH, Music Director

Richard Burgin, Associate Conductor

Concert Bulletin of the

Fifth Concert

TUESDAY EVENING, March 30

with historical and descriptive notes by

John N. Burk

The TRUSTEES of the BOSTON SYMPHONY ORCHESTRA, Inc.

Henry B. Cabot . President

Jacob J. Kaplan . Vice-President

Richard C. Paine . Treasurer

Philip R. Allen M. A. De Wolfe Howe John Nicholas Brown Michael T. Kelleher Theodore P. Ferris Palfrey Perkins Alvan T. Fuller Lewis Perry N. Penrose Hallowell Edward A. Taft Francis W. Hatch Raymond S. Wilkins Oliver Wolcott

George E. Judd, Manager

T. D. Perry, Jr. N. S. Shirk, Assistant Managers

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[«] .

Veterans Memorial Auditorium, Providence

Three hundred and Twenty-fifth Concert in Providence

Boston Symphony Orchestra

CHARLES MUNCH, Music Director

FIFTH PROGRAM

TUESDAY EVENING, March 30, at 8:15 o'clock

GUIDO CANTELLI, Guest Conductor

Andrea Gabrieli La Battaglia (Arranged by Ghedini)

Bartok Music for Strings, Percussion and Celesta

I. Andante tranquillo

II. Allegro III. Adagio IV. Allegro molto

INTERMISSION

Brahms Symphony No. 1, in C minor, Op. 68

I. Un poco sostenuto; Allegro II. Andante sostenuto III. Un poco allegretto e grazioso IV. Adagio; Allegro non troppo ma con brio

The Friday and Saturday concerts are broadcast each week from Station WGBH (FM)

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The programs for the enlarged Berk- pleasure. . shire Festival of July and August, 1954, have been announced. In the course of the Shed concerts, Charles Munch will honor the 150th anniversary season of the birth of Berlioz by conducting this composer's principal works in their complete form. Guest conductors in the Shed concerts will be Pierre Monteux,

conducting two concerts ; Jean Morel, and Richard Burgin, each conducting one. Mr. Munch will open the Shed series

on Saturday, July 10, with Berlioz's Damnation of Faust, with the Harvard Glee Club and Radcliffe Choral Society.

On Sunday afternoon, July 11, Pierre Monteux will present a Beethoven program including the Overture to Leonore Model 3HES5 $139.95 No. 3, the Piano Concerto No.' 5 ("Em- with the new peror") with Claudio Arrau as soloist, and the Fifth Symphony.

RCAVICTOR 2nd week (Shed, July 17, 18) : Satur- day eve. (Pierre Monteux) — Franck HIGH FIDELITY program: Le Chasseur Maudit, Les " " Eolides, Les Djinns (piano soloist, Vera Victrola Phonograph Franceschi), Symphony in D minor; and RCA Victor Sunday aft. (Charles Munch) — De- bussy, Iberia; Copland, Piano Concerto High Fidelity Records (soloist, Leo Smit) ; Berlioz, Fantastic New High Fidelity "Victrola" phono- Symphony.

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In addition, RCA Victor brings you (Charles Munch) — Berlioz, Beatrice the world's largest and finest selection and Benedict Overture and Harold in of High Fidelity records. Be sure to ask Italy (viola soloist, William Primrose) your dealer for the latest RCA Victor Ernst Toch, Symphony No. 2. High Fidelity Record Catalog. 4th week (Shed, July 31, Aug. 1) Saturday eve. (Charles Munch) — Ber- Suggested Eastern list price, subject to change lioz, Romeo and Juliet with Festival RCAViCTOR Chorus and soloists; Sunday aft. (Rich- ard Burgin) Prokofieff, Chout, Dvorak, "mkj. ® RADIO CQRPQRATipN OF AMERICA — (Continued on page 11)

[4] GUIDO CANTELLI

Guido Cantelli was born in Novara (near Milan) , Italy, on April 27, 1920. The town possessed a theatre, and a military band of which his father was the leader, with the result that as a mere boy Guido had the experience of leading the band, playing in the theatre orchestra; he also played the organ and sang in the church choir. At 14 he received a diploma as pianist from the Conservatorio Giuseppe Verdi in Milan where he later studied composition with Arrigo Pebrolo and Giorgio Ghedini. He had early experience conducting opera and concerts at Novara. During the war he was held in a prison camp in Germany. After the war he had many engagements conducting orchestras in Italy including the orchestra of La Scala in Milan, where his talents came to the attention of Arturo Toscanini. It was through Toscanini's recommendation that he came to this country in 1948 and conducted the NBC Orchestra as guest. He has since conducted this orchestra each season, and a number of orchestras in the United States and in Europe. He conducted the Boston Symphony Orchestra as guest January

30, 31, and February 6, 7, 1953, and on tour in the week following.

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r 5i LA BATTAGLIA By Andrea Gabrieli in Born Canareggio, Venice, 1510 (?) ; died there, 1586

Arranged for Wind Instruments By Giorgio Federico Ghedini

Born in Cuneo, Piedmont, July 11, 1892

The Aria della Battaglia, per sonar d'instrumenti a fiato, was composed probably between 1570 and 1580. Edited by Ghedini for modern wind instruments, it was first performed at La Scala in Milan under the direction of Guido Cantelli on September 23, 1952. Mr. Cantelli likewise introduced this work at a concert of the Philharmonic-Symphony Society of New York on March 26, 1953. Herbert F. Peyser, in the New York program, stated that "the Ghedini version has been published by Ricordi and was edited by Ghedini for the 'Settimana Musicale' of the Academia Chigiana of Siena. There the manuscript has been lost and Ghedini has been compelled to write a new version." The instrumentation of Ghedini calls for 3 flutes and piccolo, 2 oboes and English horn, 3 clarinets and bass clarinet, 3 bassoons, 4 horns, 3 trumpets, 3 trombones and tuba.

^ndrea Gabrieli was the uncle of Giovanni Gabrieli (1557-1612),

JLJL whose antiphonal music for chorus and brass instruments is more familiar to present audiences.* Andrea was a pupil of Adrian Willaert,

* Giovanni Gabrieli's Sonata Pian e Forte was performed at these concerts January 10, 1935 when Sir Adrian Boult conducted, and on November 10, 1950 under the direction of Charles Munch,

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[6] Maestro di Cappella at St. Mark's, and was preceded by Claudio Merulo as organist in that cathedral. He spread his fame by numerous compositions for organ or chorus. Among his pupils, besides his nephew, were Peter Sweelinck and Hans Leo Hassler. There was nothing unusual about battle pieces in the Italy of the Cinquecento. They were written both for wind instruments and for singers, in that era which antedated the concerted use of strings. The contrapuntal madrigal or motet was the basic style and the parts ranged from four to sixteen. Benvenuto, in a preface to the score as arranged by Ghedini, points out that this one was in special favor. It celebrated the victory at Marignano (now Melegnano, near Milan) in 1515 in which the French under Francis I, together with the Venetians, defeated the Swiss. La Battaglia was derived from La Guerre by the earlier contrapuntal composer Clement Jannequin (precise dates unknown) of the French-Nertherlands school, a disciple of Josquin des Pres. Jannequin, a true Renaissance spirit, applied his pictorial imagination to the then constricted form of the chanson in four parts, usually intended for unaccompanied voices, giving his compositions such provocative titles as Chant de Valouette, Le chant du rossignol, Le caquet des femmes, Voulez ouir les cris de Paris, La Chasse, and La Guerre. La Guerre, originally published in 1529, be-

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[7] came famous and inspired others to like attempts. In 1545 Tylman Susato of Antwerp re-published it with an optional fifth voice added. Arrangements were also made for keyboard or various ensembles. Charles Burney in England admired the work and made a scoring of his own. La Battaglia, which Andrea Gabrieli in Venice brought forth between 1570 and 1580, was, according to the custom of the time, a free paraphrase on Jannequin. In this sense Ghedini's score is actually a modern arrangement of an ancient paraphrase. Benvenuto points out that Gabrieli has freely developed the descriptive aspects of his model, stressing the "warlike trumpet fanfares, the galloping cavalry, and the drumrolls and shouts of the opposing forces." This writer discerns "the coming of dawn," a "prayer of solemn invocation" before the battle, followed by the sounds of the conflict. He finds Gabrieli's treatment "more agitated and vigorous than that of his predecessor," with victorious cries which could hardly have been conceived in the earlier epoch. Nicola Costarelli, who wrote the annotations for a performance at the St. Cecelia concerts in Rome, November 15, 1953, under Cantelli's direction, finds Ghedini's transcription "studiously faithful to its

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[8] period without arbitrary archaisms, benefiting by the flexibility of modern instruments without departing from the plain intents of the original — in other words, a true re-creation." Burney's comments in his History of Music on the exploits of Jannequin give us a sense of the hold which descriptive music had upon sixteenth-century hearers. He traced this tendency to his own England, where 100 years later Ravenscroft endeavored to express "the pleasure of the five usual recreations of Hunting, Hawking, Dancing, Drinking, and Enamouring" (1614).

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[9] MUSIC FOR STRINGED INSTRUMENTS, PERCUSSION AND CELESTA By Bela Bartok

Born at Nagyszentmiklos, Hungary, March 25, 1881; died in New York, September 26, 1945

Bart6k's Music for Stringed Instruments was composed at Budapest in 1936. It had its first performance at Basel, Switzerland, January 21, 1937, by a chamber orchestra under Paul Sacher. The first performance in America was given by the Philharmonic-Symphony Society of New York, John Barbirolli, conductor, October «8, 1937.

The following percussion instruments are called for: timpani, bass drum, cymbals, small drum (with and without snare) , tam-tam, celesta, harp, pianoforte (two players) , and xylophone.

Bela Bartok has divided his players into two string quartets, on the left and right of the conductor, the percussion players ranged in two rows between them, backed by the double-basses. In the first movement the string groups are merged, but later on they are for the most part treated as distinct balanced (and complementary) units. The violas (muted) introduce the first movement with a theme which is developed fugally with the other strings. The timpani and the

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[lO] ;

{Continuedfrom page 4)

Violin Concerto (soloist, Ruth Posselt) two weeks (July 9 and 16) Charles Sibelius, Symphony No. 2. Munch will conduct music of Bach, in-

5th week (Shed, Aug. 7, 8) : Saturday cluding in the first the Brandenburg eve. (Charles Munch) — Berlioz pro- Concertos Nos. 1, 3, 2, 6, 5, and in the gram: Benvenuto Cellini Overture, second, the Cantata No. 93 and Suites The Royal Hunt and Storm from The Nos. 1 and 4. On July 23, he will con- Trojans, Summer Nights for soprano and duct a Handel-Haydn program. On July orchestra with Eleanor Steber as soloist, 30 Mr. Munch will conduct Roussel's and the Te Deum. Sunday aft. (Charles The Spider's Feast, the Ibert Flute Con- Munch) — Gluck, Alceste Overture; certo with Doriot Anthony as soloist, Beethoven, Violin Concerto (soloist, Mozart's Serenade for 8 Winds in C Zino Francescatti) ; Brahms, Symphony minor, K. 388, and the same composer's No. 2. Paris Symphony, K. 297. On August 6 6th week (Shed, Aug. 14, 15) : Satur- Lukas Foss will conduct the complete day eve. (Charles Munch) — Wagner, Stravinsky ballet Pulcinella, a. Piano A Faust Overture; Piston Fourth Sym- Concerto by Mozart with Seymour Lip- phony; Ravel, Piano Concerto (solo- kin as soloist, and excerpts from Mo- ist, Nicole Henriot) ; Saint-Saens, Or- zart's Idomeneo with chorus and soloists. gan Symphony; Sunday aft. (Charles At the final concert on Thursday, Au- Munch) — Berlioz, Requiem with Fes- gust 12, Jean Morel as guest will tival Chorus and four auxiliary orches- conduct Rossini's Overture to The Silk tras. Ladder, Mozart's Symphony in B flat, Bach -Mozart Series K. 319, Ravel's Mother Goose Suite, and On the six Friday evenings preceding Strauss' Der Burger als Edelmann. each Shed concert, except in the final The series of concerts in The Theatre- week when it will be given on Thursday, the concerts will be given in the inti- Concert Hall on the six Wednesday mate Theatre-Concert Hall by an or- evenings will be devoted to music of chestra of chamber proportions. The first chamber proportions.

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[ii] The Friends of the Boston Symphony Orchestra List of Providence Members for Season 1953-1954

The Trustees of the Boston Symphony Orchestra acknowledge with deep appreciation their gratitude to all who have enrolled as Friends of the Orchestra this Season and desire at this time to extend their thanks in particular to those members in Providence whose names appear on the following pages:

Mr. and Mrs. George Abrich Mrs. Harriet M. Cappon Miss Louise M. Fish Colonel and Mrs. Mr. George H. Capron Mrs. Paul Fletcher Walter Adler Miss Bernadetta R. Carter Mr. James A. Fletcher Mr. Hugh B. Allison Miss Margaret Chace Miss Virginia Fooks Mr. and Mrs. Dr. and Mrs. Mr. Raymond G. Franks John A. Anderson Francis H. Chafee Mrs. Clarke F. Freeman Mrs. R. Edwards Annin Chaminade Club Mrs. Edward L. Freeman Mr. Everard Appleton Mr. and Mrs. Mr. and Mrs. Miss Marguerite Appleton Louis A. Chasan Evert W. Freeman Mr. David Chernack Mrs. Frederick C. Freeman Mr. Donald S. Babcock Chopin Club of Providence Mr. and Mrs. Dr. and Mrs. Mr. and Mrs. Hovey T. Freeman Henry H. Babcock Roger T. Clapp Miss Margaret A. Fuller Mrs. Harvey A. Baker Miss Alice K. Clark Dr. and Mrs. Mrs. John W. Baker Miss Ruth M. Clark Marshall N. Fulton Mr. and Mrs. Miss Sydney Clarke Norman V. Ballou Mrs. Sidney Clifford Mr. Joseph Gartner Mrs. Paul Bardach Miss Genette T. Collins Mr. and Mrs. Miss D. Elizabeth Barden Mrs. J. C. Collins Murray Gartner Mrs. Frederick O. Bartlett Mrs. George E. Comery Mr. and Mrs. Dr. and Mrs. Reuben C. Bates Mrs. G. Maurice Congdon Edward J. Gately Mr. and Mrs. Mr. Johns H. Congdon, 2nd Mr. and Mrs. Robert Jenks Beede Mr. William G. Congdon Leslie N. Gebhard Beethoven Club of Providence Miss Elizabeth C. Conlon Mrs. Maurice Genter Miss Charlotte R. Bellows Mr. R. M. Cooper Mr. and Mrs. Leo Gershman Mr. Dana R. Bellows Mr. Edward J. Corcoran Mrs. Barney M. Goldberg Mr. Harlan G. Bemis Mr. John Corcoran Mrs. Thomas H. Goldberg Dr. and Mrs. Mr. Michael Corcoran Mrs. Harry L. Grant Emanuel W. Benjamin Misses Clara R. and Miss Charlotte M. Greene Mrs. Bruce M. Bigelow Mary L. Crosby Miss Gilda Greene Mr. Richard H. Blanding Mrs. Gammell Cross Mrs. Joseph Warren Mr. Z. W. Bliss, II Dr. and Mrs. Greene, Blumenthal Jr. Miss Mildred G. Frank Anthony Cummings Miss Bertha C. Greenough Mr. and Mrs. Mrs. Charles C. Cushman Mrs. Morris Grossman R. S. Bosworth, Jr. Mr. W. Gunther-Stirn Bouchard, Miss Mary Daboll Mr. Walter G. Jr. Mr. Robert G. Gurnham Mrs. S. Mrs. E. S. R. Brandt Murray Danforth Brier Mr. W. W. Dempster Mr. and Mrs. Charles Mr. and Mrs. Edward G. Hail Briggs Mrs. Robert B. Dresser Miss Harriet M. Mrs. Henry C. Hart Brooks Miss Margaret E. Drewett Mr. and Mrs. Curtis B. Mr. Kurt Hasterlik Mrs. Martin Duchan J. Miss Alice Francis Brown Miss Dorothy M. Hazard Mrs. M. Dart Dunbar Mrs. C. W. Brown Mrs. Miss Margaret B. Dykes Thomas Mr. and Mrs. Pierrepont Hazard Nicholas Brown John Mrs. Ross V. Hersey Mr. and Mrs. Lester P. Brown Miss Edith W. Edwards Mr nd M s Mrs. Gurney Edwards - - Mrs. P. Brunschwig Mr. and ^ t J T Frank L. Hinckley Mrs. Mr. and Mrs. Mr. and Mr. and Mrs. H. V. Hines C. Warren Bubier William H. Edwards Mr. and Mrs. Oiva E. Hintsa E. Buchan Mr. Irving N. Espo Miss Ruth Miss Mabel Hirst Mrs. Buffinton Mr. and Mrs. Edward S. Esty John Mrs. Paul H. Hodge Miss R. Ethel Bugbee Mrs. Elizabeth S. Ey Mrs. Bernard J. Hogue Mrs. Samuel Hyde Cabot Mr. and Mrs. Cantor Jacob Hohenemser Mr. John Hutchins Cady Howard L. Fales Mr. and Mrs. Miss Maria L. Camardo Mrs. R. Henry Field Robert S. Holding Mrs. Wallace Campbell Miss Anna G. Fiore Mrs. C. H. Horner FRIENDS OF THE BOSTON SYMPHONY ORCHESTRA (Continued) Miss Mary Horowitz The Reverend Dr. and Mrs. Mr. Blackmer Humphrey Everett W. McPhillips Benjamin S. Sharp Mrs. Karl Humphrey Mr. George F. Meissner Dr. and Mrs. Ezra A. Sharp Mrs. Harrison B. Huntoon Mrs. Adolf Meller Mr. and Mrs. Mrs. E. Bruce Merriman Henry Dexter Sharpe Mrs. Arthur Ingraham Mrs. Bruce Merriman Mr. Edwin F. Sherman Mrs. Charles H. Merriman Mr. Ben Sinel Mr. and Mrs. Mr. and Mrs. G. Pierce Metcalf Mr. and Mrs. Walter C. Slade Donald E. Jackson Mrs. Jesse H. Metcalf Miss Hope Smith Mrs. F. Ellis Jackson Mr. and Mrs. Alex Miller Mr. and Mrs. Kirk Smith Mr. and Mrs. Mills Sisters Mr. Sherman L. Smith Robert E. Jacobson Mrs. Paul Monohon Mrs. A. Chester Snow Mrs. Edward P. Jastram Mr. William F. Morancy Mr. Edward S. Spicer Mrs. David Morse Mrs. Thomas E. Steere Mr. and Mrs. Arthur Kaplan Mr. and Mrs. E. C. Mowry Mr. David A. Strasnick Mr. Frederick L. Kateon Mrs. Arthur P. Sumner Dr. Maurice N. Kay Miss Katharine B. Neilson Miss Helen T. Sutherland Mr. and Mrs. Miss Edith Nichols Mrs. A. L. Swats

A. Livingston Kelley Mrs. J. K. H. Nightingale, Jr. Mr. and Mrs. Mrs. J. K. H. Nightingale Mrs. Royal C. Taft Howard A. Kelley Mr. Leon I. Nye Mr. and Mrs. Miss Marion L. Kesselring Roland P. Talbot Mrs. Eugene A. Kingman Miss Marian O'Brien Mrs. R. P. A. Taylor Mrs. Webster Knight, II Mr. B. J. O'Neill Miss Ruth F. Thomson Mr. Frederick K. Koch The Misses Owens Miss Margaret E. Todd Mr. and Mrs. David Kotlen Mrs. Nathan Traber Miss Helen G. Kurtz Mrs. Clarence H. Philbrick Mr. and Mrs. Mr. George F. Phillips Attmore A. Tucker Mr. Paul R. Ladd Miss Catharine W. Pierce Mrs. Henry Turoff Mr. Philip Lapides Dr. A. L. Potter Mrs. Richmond Viall Mr. Thorvald Larson Dr. Charles Potter Mrs. Peter H. Leavell Mrs. T. I. Hare Powel Mrs. John Winthrop Wadleigh Miss Priscilla H. Leonard Mrs. H. Waterhouse Walker Mrs. Austin T. Levy Mrs. Frederic B. Read Mrs. Ashbel T. Wall Lincoln School Mrs. Ludwig Regensteiner Miss M. Beatrice Ward Mrs. Frank B. Littlefield Rhode Island Federation The Reverend Mr. and Mrs. Royal Little of Music Clubs Warren R. Ward Mr. and Mrs. Mr. and Mrs. Dr. and Mrs. Eric Waxberg Ralph S. Richmond Stanley Livingston, Jr. Mr. Philips R. Weatherbee Mrs. Robert M. Lord Mr. Martin L. Riesman Dr. and Mrs. Mr. and Mrs. Mr. and Mrs. Joseph B. Webber George Y. Loveridge Thomas H. Roberts Mrs. Arthur P. Weeden Miss Helen C. Robertson Mr. and Mrs. Mark Weisberg Miss Janet MacDougall Mr. and Mrs. Mr. and Mrs. John H. Wells Mrs. Kenneth B. MacLeod Charles M. Robinson Miss Ruth A. Whipple Mrs. Norman D. MacLeod Mrs. F. F. Rogers Mrs. Prescott A. Whitman Commodore and Mrs. Col. and Mrs. Miss Helen L. Whiton Cary Magruder Robert W. Rogers Mrs. F. C. Whittelsey Mrs. Albert E. Marshall Mrs. Jacqueline Roland Mr. A. F. Willgoose Miss Margaret Marshall Mr. and Mrs. Mr. A. F. Willgoose Mrs. Reune Martin Aaron H. Roitman Mr. Clinton N. Williams Mr. Stanley H. Mason The Reverend E. D. Romig Mr. and Mrs. Mrs. Frank W. Matteson Charles P. Williamson Mrs. Frank Mauk Dr. and Mrs. J. Savran Mr. Charles S. Wilson Mr. Norman S. McAuslan Dr. Carl D. Sawyer Mr. Claude M. Wood Mrs. Irving J. McCoid Miss Helen Marie Scholes Miss Mary R. McGinn Rabbi Morris Schussheim Mrs. Louis E. Young Mrs. H. E. McGregor Mr. Harry A. Schwartz Mr. and Mrs. Saul Zarchen The sole and earnest purpose of the society of Friends of the Boston Symphony Orchestra is to provide the best in orchestral music to the greatest possible number, and all who care to join in furthering this object are invited to enroll as Members. Enrollments for the current season will be gratefully accepted up to August 31, 1954, and may be made by check payable to Boston Symphony Orchestra and mailed to the Treasurer at Symphony Hall, Boston. There is no minimum enrollment fee. other percussion instruments lightly punctuate the discourse, the celesta adding arpeggios before the close. The movement progresses from pianissimo to a fortissimo climax and subsides to a pianissimo close. This movement is the only one in which the rhythmic beat is irregular throughout (almost every bar bears a varying time signa- ture) .

The second movement is Allegro 2-4. A theme played by the second string group pizzicato is immediately answered by another theme from the alternate group bowed and forte. These themes, much altered and supplemented, provide the principal material for this fast and scherzo-like movement. There is a section in irregular rhythm followed by a fugato on the second theme. The movement ends vivo and vivace.

The third movement, Adagio 3-2 changing to 2-2, has been referred to by Lawrence Gilman as a "mystical nocturne, elemental and earth- born." The xylophone gives a free tattoo on a high F until a theme, chromatic and accentuated, is announced by the first viola and taken up by the other strings. A theme of more flowing character is given r

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When the Waltz Was Young

**npHE rise and fall of musical fashions is filled *- with amusing turns and twists of human nature," Delver Forfax reflected. "For example, an opera of Rossini long considered dead and done for — La Gazza Ladra ('The Thieving Magpie') recently delighted a sophisticated New York audience. "When it was staged first, in 1817, it soon was a popular success, but drew upon Rossini some critical objections to one particular 'innovation' which I find specially interesting. This was the use of a waltz as a prelude to the heroine's trial for her life. The waltz was still new, and Rossini was alert enough to try it out for a new effect which was too novel for the critics. "In its early stages the waltz was denounced not only in Rossini's opera, but when it began to be 'the latest thing' for social dancing. Here is the bitter commentary in the periodical Salmagundi, published in New York in 1807, by Washington Irving, his brother William, and his friend James K. Paulding: " 'Waltz. As many of the retired matrons of this city are doubtless ignorant of the movements and figures of this modest exhibition, I will endeavor to give some account of it, in order that they may learn what odd capers their daughters sometimes cut when from under their guardian wings. On a signal being given by the music, the gentleman seizes the lady round her waist; the lady, scorning to be outdone in courtesy, very politely takes the gentleman around the neck, with one

arm resting against his shoulder. . . . Away they go, about, about. . . . " 'In the course of this circumnavigation . . . now the gentleman, meaning no harm in the world, I assure you, Madam, carelessly flings his arm about the lady's neck, with an air of celestial impudence; and anon the lady, meaning as little harm as the gentleman, takes him round

the waist with most ingenuous languishment. . . . After continuing this divine interchange of hands, arms, et cetera, for half an hour or so, the lady begins to tire, and with "eyes upraised," in most bewitching languor petitions her partner for a little more support. This is always given without hesitation. The lady leans gently on his shoulder, their

.' arms entwine. . . "What a sad transition the waltz seemed to be after the minuet and quadrille," Delver concluded sardonically. [15] by the celesta and first violins. There is a nebulous episode with glissandi (or arpeggios) for the harp, celesta, and pianoforte over string tremolos. This is interrupted by a 5-4 section for the same instruments but of more downright character. The Adagio section returns and is more fully developed. About the finale Lawrence Gilman commented interestingly when this music was performed in New York: "The last movement, of irresistible effectiveness, is an exhilarating Allegro molto based chiefly on a tune of peasant character, a dance melody built on the intervals of the Ecclesiastical Mode known as the Lydian (corresponding to our modern major scale with a raised fourth) , called, by mediaeval writers, Modus laetus (The Joyful Mode) . The exuberant subject of Bartok's finale is introduced at the sixth measure (2-2 time) , after prefatory pizzicati chords of the strings. This tune is consorted with another, of more flat-footed character, heard some eighty-five bars further on, in 3-2 time, on the violas and 'cellos. There are subsidiary tunes of folk-like character, and the movement passes through a con- trasting phase, Molto moderato, in which material of a more lyric nature is expressively treated, before the concluding return of the original tempo. In the instrumentation of this movement the celesta is replaced in certain passages by a second piano."

There are certain "moderns" who, bold and challenging spirits in their youth, keep these qualities as their years and labors accumu- late. So, Schonberg, Stravinsky, Bartok, remain in the forefront of innovation, unsuperseded by a younger generation. In point of time, Bart6k has had a slight edge upon Schonberg as a breaker of new paths; his rhythmic irregularities preceded Stravinsky's "Sacre" by more

BOUND VOLUMES of the

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fi6 1 than a decade. This may be strikingly observed in the First String Quartet, composed in 1907, and "the maturing and full flowering of his style in those that followed. The Fifth Quartet was composed in 1934, a year before the Music for Strings and Percussion, and the Sixth and last in 1939. Philip Hale heard in 1912 Bartok's "Bear Dance" for piano, and remembered years later the effect upon a Bostonian assemblage: "The composer was regarded with a certain indulgence by the audience, as, if not stark mad, certainly an eccentric person. There are today some," he added (in 1928) , "now that his reputation is firmly established, to whom his music is a stumbling-block." So, even at that time, he had ceased to be looked upon as a sort of enfant terrible. Any change in

Bartdk as a figure in the musical world is due less to the composer, whose development has been notably consistent, than to a change in the general receptivity of the listening public. The passing of years and the experience of listening have clarified his music, reduced the number of those who are baffled by it. And even those who may not yet discern his more positive virtues uni- versally respect his sober and honest intentions, his prodigious in- dustry, his craftsman's skill, his unremitting zeal for his racial heritage. He has sought out, recorded, and scientifically classified with enormous pains the folk music of his own and adjacent peoples. In his younger years he applied an assimilative, questing energy to the musical cultures of Germany and France. His music, at heart strongly personal, has been colored by successive "influences," the most deep-lying being the traits of the Magyar folk songs and dance music with which he has steeped himself so long and so fondly. Like emergent "nationalists" elsewhere — Smetana in Bohemia, Moussorgsky in Russia, or Vaughan Williams in England — he has succeeded in making the flavor of the folk heritage a part of his musical nature without any literal borrowing whatsoever of its musical texts. [copyrighted]

NEW ENGLAND CONSERVATORY OF MUSIC Harrison Keller, President Chester W. Williams, Dean

The Conservatory broadcasts over Station WGBH-FM. Listeners will hear programs of fine music played by students, performances by Faculty members, programs for orchestra, opera, chamber music, choral works, and lectures on the understanding of music. These broadcasts present a picture of music and musicians in the making. Mondays at 8:30 p.m. "On Music"; Thursdays at 8:30 p.m. Concerts.

For information about study at the Conservatory, write the Dean, 290 Huntington Avenue, Boston, Mass.

[17] SYMPHONY IN C MINOR, NO. 1, Op. 68 By Johannes Brahms

Born in Hamburg, May 7, 1833; died in Vienna, April 3, 1897

First The Symphony of Brahms had its initial performance November 4, 1876, at Carlsruhe, Otto Dessoff conducting. The symphony is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, contra- bassoon, 4 horns, 2 trumpets, 3 trombones, timpani and strings. The trombones are used only in the finale. Not until he was forty-three, did Brahms present his First Sym- phony to the world. His friends had long looked to him ex- pectantly to carry on this particular glorious German tradition. As early as 1854 Schumann, who had staked his strongest prophecies on

Brahms' future, wrote to Joachim: "But where is Johannes? Is he flying high, or only under the flowers? Is he not yet ready to let drums and trumpets sound? He should always keep in mind the beginning of the Beethoven symphonies: he should try to make something like them.

The beginning is the main thing; if only one makes a beginning, then the end comes of itself." Schumann, that shrewd observer, knew that the brief beginnings of Brahms were apt to germinate, to expand, to lead him to great ends. Also, that Beethoven, symphonically speaking, would be his point of departure. To write a symphony after Beethoven was "no laughing matter," Brahms once wrote, and after sketching a first movement he admitted to Hermann Levi — "I shall never compose a symphony! You have no conception of how the likes of us feel when we hear the tramp of a giant like him behind us."

To study Brahms is to know that this hesitancy was not prompted by any craven fear of the hostile pens which were surely lying in wait for such an event as a symphony from the newly vaunted apostle of classicism. Brahms approached the symphony (and the concerto too) slowly and soberly; no composer was ever more scrupulous in the com- mitment of his musical thoughts to paper. He proceeded with elaborate

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[18] NOTICE OF MEETING of the FRIENDS OF THE BOSTON SYMPHONY ORCHESTRA

The twentieth Annual Meeting of the Friends of the Orchestra will be held in Symphony Hall on Wednesday afternoon, March 31, 1954, at four o'clock for the trans- action of such business as may properly come before the meeting.

Mr. Munch with members of the Orchestra will present a short program of music. At the conclusion of the music the Trustees will receive our members at tea in the upper foyer.

Membership in our Society carries the privilege of attending this meeting, which we hope will be the largest on record. If you have not already joined you may do so now at the Box Office. OLIVER WOLCOTT Chairman, Friends of the Boston Symphony Orchestra

To the Trustees of Boston Symphony Orchestra, Inc. Symphony Hall, Boston

I ask to be enrolled as a member of the Friends of the Boston Symphony Orchestra for the year 1953-1954 and I pledge the sum of $ for the current support of the Orchestra, covered by check herewith or payable on

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[19] examination of his technical equipment — with spiritual self-question- ing — and with unbounded ambition. The result — a period of fourteen years between the first sketch and the completed manuscript; and a score which, in proud and imposing independence, in advance upon all precedent — has absolutely no rival among the first-born symphonies, before or since.

His first attempt at a symphony, made at the age of twenty, was diverted in its aim, the first two movements eventually becoming the basis of his piano concerto No. 1, in D minor. He sketched another first movement at about the same time (1854), but it lay in his desk for years before he felt ready to take the momentous plunge. "For about fourteen years before the work appeared," writes D. Millar Craig,*

"it was an open secret among Brahms' best friends that his first symphony was practically complete. Professor Lipsius of Leipzig Univer- sity, who knew Brahms well and had often entertained him, told me that from 1862 onwards, Brahms almost literally carried the manuscript score about with him in his pocket, hesitating to have it made public. Joachim and Frau Schumann, among others, knew that the symphony was finished, or at all events practically finished, and urged

Brahms over and over again to let it be heard. But not until 1876 could his diffidence about it be overcome." It would be interesting to follow the progress of the sketches. We know from Madame Schumann that she found the opening, as originally submitted to her, a little bold and harsh, and that Brahms ac- cordingly put in some softening touches. "It was at Miinster am Stein," (1862) says Albert Dietrich, "that Brahms showed me the first movement of his symphony in C minor, which, however, only appeared much later, and with considerable alterations."

At length (November 4, 1876), Brahms yielded his manuscript to Otto Dessoff for performance at Carlsruhe. He himself conducted it at Mannheim, a few days later, and shortly afterward at Vienna, Leipzig,

* British Broadcasting Corporation Orchestra program notes.

Anita Davis-Chase Announces MYRA HESS SYMPHONY HALL SUNDAY AFT. APRIL 4

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November 9 December 14

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GEO. E. JUDD, Manager

[21] and Breslau. Brahms may have chosen Carlsruhe in order that so cru- cial an event as the first performance ol his first symphony might have the favorable setting of a small community, well sprinkled with friends, and long nurtured in the Brahms cause. "A little town," he called it, "that holds a good friend, a good conductor, and a good orchestra." Brahms' private opinion of Dessoff, as we now know, was none too high. But Dessoff was valuable as a propagandist. He had sworn allegiance to the Brahms colors by resigning from his post as conductor of the Vienna Philharmonic because Brahms' Serenade in A major was re- fused. A few years before Dessolf at Carlsruhe, there had been Hermann Levi, who had dutifully implanted Brahms in the public consciousness. Carlsruhe very likely felt honored by the distinction conferred upon them — and in equal degree puzzled by the symphony itself. There was no abundance of enthusiasm at these early performances, although

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Bartok Music for Strings, Percussion and Celesta V March 30 Beethoven Symphony No. 3 in E-flat major, "Eroica," Op. 55 IV February 23 Berlioz Excerpts from "The Damnation of Faust," Op. 24 IV February 23

Bloch Concerto Grosso No. 2, for String Orchestra I November 24

Brahms Symphony No. 1, in C minor, Op. 68 V March 30 Symphony No. 4 in E minor, Op. 98 I November 24 Variations on a Theme of Joseph Haydn, Op. 56A II December 29 Debussy "Iberia" ("Images" for Orchestra, No. 2) II December 29 Gabrieli (Andrea) La Battaglia (Arranged by Ghedini) V March 30

] bert Concerto for Flute and Orchestra IV February 23 Soloist: Doriot Anthony

Kabalevsky Concerto for Violoncello and Orchestra, Op. 49 I November 24 Soloist: Samuel Mayes Lalo Symphonie Espagnole, for Violin and Orchestra III January 19 Soloist: Ruth Posselt Mahler Adagio from the Tenth Symphony III January 19 Mozart Divertimento in D major, for Strings, K. 136 II December 29 Ravel. "Le Tombeau de Couperin," Suite I November 24 "Daphnis et Chloe," Second Suite II December 29

Saint-Saens Piano Concerto No. 3, in E-flat major, Op. 29 II December 29 Soloist: Nicole Henriot Tchaikovsky Italian Capriccio, Op. 45 III January 19 Weber Overture to "Oberon" III January 19

Richard Burgin conducted the concert of January 19. Guido Cantelli conducted the concert of March 30.

[23] Carlsruhe, Mannheim and Breslau were markedly friendly. The symphony seemed formidable at the first hearing, and incomprehensible — even to those favored friends who had been allowed an advance ac- quaintance with the manuscript score, or a private reading as piano duet, such as Brahms and Ignatz Brull gave at the home of Friedrich Ehrbar in Vienna. Even Florence May wrote of the "clashing disso-

nances of the first introduction." Respect and admiration the symphony won everywhere. It was apprehended in advance that when the composer of the Deutsches Requiem at last fulfilled the prophecies of Schu- mann and gave forth a symphony, it would be a score to be reckoned with. No doubt the true grandeur of the music, now so patent to every- one as by no means formidable, would have been generally grasped far sooner, had not the Brahmsians and the neo-Germans immediately raised a cloud of dust and kept their futile controversy raging for years. The First Symphony soon made the rounds of Germany, enjoying a particular success in Berlin, under Joachim (November 11, 1877). In March of the succeeding year it was also heard in Switzerland and Hol- land. The manuscript was carried to England by Joachim for a performance in Cambridge, and another in London in April, each much applauded. The first performance in Boston took place January 3, 1878, under Carl Zerrahn and the Harvard Musical Association. When the critics called it "morbid," "strained," "unnatural," "coldly elabo- rated," "depressing and unedifying," Zerrahn, who like others of his time knew the spirit of battle, at once announced a second performance for January 31. Sir George Henschel, an intrepid friend of Brahms, performed the C minor Symphony, with other works of the composer, in this orchestra's first year. Still more ink has been expended on a similarity admitted even by Florence May between the expansive and joyous C major melody sung by the strings in the Finale, and the theme of the Hymn to Joy in Beethoven's Ninth. The enemy of course raised the cry of "plagiarism." But a close comparison of the two themes shows them quite different in contour. Each has a diatonic, Volkslied character, and each is introduced with a sudden radiant emergence. The true resemblance between the two composers might rather lie in this, that here, as pat- ently as anywhere, Brahms has caught Beethoven's faculty of soaring

to great heights upon a theme so naively simple that, shorn of its

associations, it would be about as significant as a subject for a musical

primer. Beethoven often, and Brahms at his occasional best, could lift such a theme, by some strange power which entirely eludes analysis,

to a degree of nobility and melodic beauty which gives it the unmis- takable aspect of immortality. [OOPYMQHTKD]

[*4] :

RCA VICTOR RECORDS BOSTON SYMPHONY ORCHESTRA

Recorded under the leadership of Charles Munch Beethoven Symphony No. 7 Symphony No. 1 Berlioz "Romeo et Juliette" (with chorus and soloists) Brahms Symphony No. 4 Brahms Piano Concerto No. 2 Soloist, Artur Rubinstein Bruch Violin Concerto No. 1, in G minor Soloist, Tehudi Menuhin Handel "Water Music" Haydn Symphony No. 103 ("Drum Roll") Symphony No. 104 ("London") Honegger Symphony No. 5 Ravel Pavane Roussel "Bacchus et Ariane" Schubert Symphony No. 2

Schumann Symphony No. 1 ("Spring") ; Overture, "Genoveva" Strauss Don Quixote

Soloist : Gregor Piatigorsky

ALBUM: Ravel, "Rapsodie Espagnole." "La Valse" ; Overtures, Berlioz, "Beatrice and Benedick"; Lalo, "Le Roi d'Ys"; Saint-Saens, "La Princesse Jaune"

Among the recordings under the leadership of Serge Koussevitzky Bach Brandenburg Concerto No. 1, Mozart Eine kleine Nachtmusik; in F; Brandenburg Concerto No. Serenade No. 10, in B-Flat, K. 6, in B-Flat; Suite No. 1, in C; 361; Symphony No. 36, in C, K.

Suite No. 4, in D 425, "Linz" ; Symphony No. 39, in Beethoven Symphony No. 3, in E- E-Flat, K. 543 Flat, "Eroica" No. ; Symphony 5, Prokofleff Concerto No. 2, in G Minor, Minor, in C Op. 67; Symphony No. Gp. 63, Heifetz, violonist; Sym- 9, in D Minor, "Choral" phony No. 5; Peter and the Wolf, Brahms Symphony No. 3, in F, Op. 90 Op. 67, Eleanor Roosevelt, narrator Haydn Symphony No. 92, in G, "Ox- Ravel Bolero; Ma Mere L'Oye Suit* ford"; Symphony No. 94, in G, "Surprise"; Toy Symphony Schubert Symphony No. 8, in B Minor "Unfinished" Khatchaturian Concerto for Piano ' and Orchestra, William Kapell, Tchaikovsky Serenade in C, Op. 48; pianist Symphony No. 4, in F Minor, Op. Mendelssohn Symphony No. 4, "Ital- 36; Symphony No. 5, in E Minor, ian" Op. 64 COMMEMORATIVE ALBUM Sibelius Symphony No. 2, in D, Op. 43 R. Strauss Don Juan, Op. 20 Wagner Siegfried Idyll

Recorded under the leadership of Pierre Monteux Liszt Les Preludes Scriabin Le PoeTne de l'Extase Stravinsky "Le Sacre du Printemps"

The above recordings are available on both Long Play (33% r.p.m.) and (in most cases) 45 r.p.m. The following are available on 45 r.p.m. only Serge Koussevitzky conducting: Haydn, "Toy" Symphony; Wagner, Prel- ude to "Lohengrin."

Some of the above recordings and many others not here listed are also available on 78 r.p.m. Chosen exclusively by the

$8al&toin Boston Symphony Orchestra

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